Dracula Review – Besson’s Passionate Reimagining of the Classic Horror Story is Outlandish but Engaging

Maybe there is no great enthusiasm for a new version of Dracula from Luc Besson, the celebrated French director for glossiness and bloat. And yet, one must admit: his opulently crafted romantic vampire tale boasts bold vision and flair – and amid its theatrical camp, I’m not sure I wouldn’t prefer over the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, such as a scene that looks like it presents a geographic divide between France and Romania.

Christoph Waltz as a Witty Yet Careworn Priest Tracking the Undead

Christoph Waltz embodies a clever but beleaguered vampire-hunting priest – it feels natural for him to tackle this character previously – who finds himself in Paris in 1889 for the French Revolution centenary celebrations. Likewise present is the malevolent vampire count, played by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone evoking the voice of Gru by Steve Carell from the Despicable Me comedies. This character suits him perfectly.

The Narrative: A Tale of Love and Loss

The plot unfolds as follows: the count has been restlessly roaming the world in anguish for 400 years since he became undead, a punishment for his faithless sorrow over the death of his spouse Elisabeta (a movie debut role for Zoë Bleu, the offspring of Rosanna Arquette). Dracula has looked tirelessly for a lady who would be the return of his deceased partner. By cruel fate, the fortunate female proves to be Mina (portrayed once more by Bleu), the modest betrothed of the count’s timid estate manager, Jonathan Harker (Ewens Abid), who has recently been to Dracula’s fortress to discuss his property portfolio and the small picture of the winsome Mina attracted Dracula’s gaze.

Besson’s Handling and Lighthearted Touch

Besson arranges Dracula’s second-act backstory of international journeys in various outrageous costumes with a sure hand, and he doesn’t shy away from providing funny bits reminiscent of Mel Brooks – such as the vampire’s constant unsuccessful tries to kill himself post-Elisabeta’s demise, as well as comical sequences that follow Dracula applies to himself using a particular scent during the 1700s in Florence, which makes him unavoidably attractive to females. Outlandish but entertaining.

Dracula is available digitally from 1 December and in disc format from December 22nd. It will be shown in Australian cinemas starting February 5, 2026.